ASTA 326 - ARTE ANTICA E DEL XIX SECOLO

Sold at

Euro 180,00

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Lot N: 0230

MANIFATTURA DEL XVII SECOLO

Stone carved blazon with ecclesiastical coat of arms.

48 x 63 x 9 cm

Starting Price

Euro 2.000,00

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Lot N: 0231

MANIFATTURA ITALIANA DEL XVII SECOLO

Pair of walnut carved decorative elements in form of caryatids.

8.5 x 79.5 x 8 cm

Starting Price

Euro 150,00

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Lot N: 0232

ARTISTA DEL XVIII SECOLO

Polychrome wood horse.

17 x 48 x 53 cm

Starting Price

Euro 2.500,00

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Lot N: 0233

SCULTORE DEL XV SECOLO

Carved wood head of Christ.

16 x 24 x 6 cm

Polychromy traces.

Sold at

Euro 2.300,00

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Lot N: 0234

MANIFATTURA DEL XIV SECOLO

Sculptural stone fragment with phytomorphic decorations and animal figures.

27 x 48.5 x 18 cm

Sold at

Euro 270,00

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Lot N: 0235

ANTONIO PANDIANI (1838 - 1928)

Three gilt bronze sculptures depicting the young Vittorio Emanuele III, Umberto I, Margherita di Savoia.

11 x 29 x 11 cm

Signed on the base. Base in marble.

Sold at

Euro 700,00

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Lot N: 0236

SCULTORE NAPOLETANO DEL XVIII SECOLO

Polychrome wood sculpture depicting Ecce Homo.

32 x 54 x 27 cm

Loss to the polychromy. Traces of signature and date on the base, perhaps identifiable with Giuseppe Sarno, a sculptor active in the Kingdom of Naples from the mid-eighteenth century circa.

Starting Price

Euro 3.500,00

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Lot N: 0237

SCULTORE DEL XVII SECOLO

Carved wood angel with traces of polychrome paint.

22 x 81.5 x 16 cm

Defects and losses.

Sold at

Euro 650,00

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Lot N: 0238

PLASTICATORE ITALIANO DEL XVIII SECOLO

Male head in polychrome terracotta and glass.

6 x 10 x 5 cm

Southern Italy, probably Naples.

Starting Price

Euro 200,00

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Lot N: 0239

SCULTORE ABRUZZESE DEL XV SECOLO

Polychrome wood bishop saint.

50 x 143 x 40 cm

Probably depicting St. Nicholas and originally equipped with a pastoral, this wooden sculpture of a seated bishop saint fits into the context of the wooden statuary of central Italy, with specific references to the Abruzzo area, fertile throughout the Middle Ages by masters of this art, like the Master of Santa Caterina Gualino (XIII-XIV century). This sculpture, perhaps conceived as part of a larger complex including at least one other figure of a saint and a Madonna in Majesty, finds analogies, on a formal level, with other works dating back to the period between the end of the fourteenth century and the first half of the fifteenth century, with a possible comparison with a "St.Eutizio bishop" preserved in the Museo Nazionale d'Abruzzo in L'Aquila (M. Moretti, "Museo Nazionale d’Abruzzo nel castello cinquecentesco dell’Aquila", L'Aquila 1968, p. 40 ), in which both the features of the face and eyes, the realization of the drapery, as well as the general structure, is comparable to our sculpture. Other comparisons are possible with a "Madonna del Parto", also in the Museo Nazionale d'Abruzzo (inv. No. 220) and with a "Madonna Enthroned" of classicist structure published in Centro Studi Piero della Francesca, "Sculture antiche dal II secolo a. C. al XV", exhibition catalogue (Milan, Abbey of S. Maria di Chiaravalle, 15 June - 15 July 1969), Milan 1969, n. XII and recently auctioned on the Italian market.

Comparative literature: M. Moretti, "Museo Nazionale d’Abruzzo nel castello cinquecentesco dell’Aquila", L’Aquila 1968, pp. 40 and 121;
Centro Studi Piero della Francesca, "Sculture antiche dal II secolo a. C. al XV", exhibition catalogue (Milan, Abbey of S. Maria di Chiaravalle, 15 June - 15 July 1969), Milan 1969, n. XII.

Sold at

Euro 8.200,00

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Lot N: 0240

SCULTORE DEL XIX SECOLO

Male head.

26 x 32 x 30 cm

Base in black marble. Height with base: 64 cm.

Starting Price

Euro 3.000,00

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Lot N: 0241

MANIFATTURA NAPOLETANA DEL XIX SECOLO

Carved and polychrome wood Education of the Virgin.

34 x 52 x 28 cm

Small losses in the polychromy.

Sold at

Euro 800,00

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Lot N: 0242

ALFONSO BALZICO (1825 - 1901)

Bust of a noblewoman with honor.

54 x 73 x 21 cm

Signature and dated 1871 at the back.

Born in Cava dei Tirreni, Alfonso Balzico began his artistic career at the Accademia di Belle Arti in Naples as a pupil of Tito Angelini, with subsequent stays in Rome, Milan and Florence. An artist of neoclassical training, he soon changed his style by adapting it in a romantic and realistic sense. In 1863, on the initiative of the King of Italy Vittorio Emanuele II, he moved to Turin, where, three years later, he assumed the position of "Sculptor of the Royal House". His works were exhibited on the occasion of some national art exhibitions, such as the one organized by the Società Promotrice delle Belle Arti in Turin in 1868. Among his best-known sculptures, the celebrated "Cleopatra", preserved in the National Gallery of Rome, the equestrian monument to Vittorio Emanuele II in Piazza Giovanni Bovio in Naples (based on drawings by Emilio Franceschi) and the statue of Flavio Gioia in the homonymous square in Amalfi, a work that was awarded in 1900 with the gold medal at the Exposition Universelle in Paris. This bust of a noblewoman, dated 1871 and therefore referable to the Turin period of Balzico's activity as Royal Sculptor (before his transfer to Naples and then to Rome in 1875), probably portrays an aristocrat of the Savoy court, wrapped in an elegant decorated dress, whose lace border is expertly rendered in marble, as are the details of the bodice and the honor at the neck.

Comparative Literature: M. Lessona, "Alfonso Balzico", Turin 1877;
G. Trezza, "Alfonso Balzico: scultore cesareo di Vittorio Emanuele II (1825-1901)", Cava dei Tirreni 1913;
A. Panzetta, "Nuovo dizionario degli scultori italiani", Turin 2003, vol. 1, pp. 68-69.

Starting Price

Euro 1.500,00

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Lot N: 0243

PIETRO MAGNI (1817 - 1877)

Angelica.

70 x 170 x 70 cm

Grey marble base. Signed. Restorations.

“La fiera gente inospitale e cruda/alla bestia crudel nel lito espose/la bellissima donna, cosí ignuda/come Natura prima la compose./Un velo non ha pure, in che richiuda/i bianchi gigli e le vermiglie rose,/da non cader per luglio o per dicembre,/di che son sparse le polite membre”. This is how Ludovico Ariosto, in the Canto X of the "Orlando Furioso" begins to describe the scene that can be seen, portrayed in marble, in this exceptional sculpture by Pietro Magni: the young Angelica, captured by the inhabitants of the Isola del Pianto, is depicted tied to the rock while, with a backward movement on the slippery stone, she tries to withdraw from the advance of the sea monster; everything happens a moment before the woman is finally saved and freed by the heroic Roger, almost a snapshot of the moment of maximum vulnerability before the final liberation. This image certainly provided the artist with the literary pretext to portray the female body in a rapid and sinuous movement, but the scene can also be seen in a more strictly political perspective, with an allusion to the situation in Italy, which, in the years around 1852 (dating of the first version of the "Angelica") was in the midst of the Risorgimento, between the First and Second War of Independence.
Net of political implications, the literary subject of Angelica, whose romantic charm was first captured by Jean-Auguste-Dominique Ingres in his painting "Roger freeing Angelica" (1819), nevertheless had to enjoy particular international favor in the field of sculpture of those years, as evidenced by some possible contemporary comparisons on the same theme, such as with the "Angélique attachée au rocher" by Andre-François-Joseph Truphême, on display at the Universal Exhibition in Paris in 1855 and today at the Museum of Grenoble, or with the homonymous work by Ernest Carrier Belleuse, exhibited with great success at the Salon of 1866.
Magni's Angelica was a particularly successful subject, repeated several times starting from his conception in 1852 and presented at various national and international exhibitions. In addition to the present, three other versions are known, also in marble: one is at the Palácio Nacional da Ajuda in Lisbon, another one is located at Farmleigh House in Dublin and the last, a 66 cm high reduction purchased by Baron Pasquale Revoltella and already identified with the sculpture exhibited in Brera in 1859, it is now located in the homonymous Civic Museum in Trieste, together with other marble masterpieces by the same artist, such as the "Cut of the isthmus of Suez" (1863) and the "Fountain of the nymph Aurisina "(1858). Furthermore, a possible fifth version, today of unknown location, cannot be excluded, since the sources of the time report that the "Angelica" presented by Magni at the Paris Exposition of 1855 was on that occasion acquired by the Queen of Holland Sofia of Württemberg (“la bella statua d’Angelica dello scultore Pietro Magni fu comperata all’esposizione di Parigi da un ciambellano della Regina dei Paesi Bassi”, in “La Cronaca. Giornale di scienze, lettere, arti, economia, industria”, Milan 1855, p.763), while at the Milanese Exposition of the same year, whose catalogue illustrated the Paris version, G. Sacchi states that a model "in iscagliola" was presented, of which today the traces seem to have been lost. The "Angelica" today in Ireland, already known at the time by the name of "Andromeda" (a change perhaps due to the greater appeal that the ancient myth could exercise compared to Ariosto's work on the British public) is also the version of which more detailed information is known and attests to the strong interest of the English and Irish aristocracy in Italian sculpture and, specifically, in the work of Pietro Magni: the owner, the Earl Edward Cecil Guinnes, was in fact a passionate collector of this artist and, in addition to the "Angelica / Andromeda", he also acquired the celebrated sculpture of "Socrates", probably to be identified with the version now present in the National Botanic Gardens in Dublin. Both were originally purchased for the residence of Iveagh House, perhaps at the London Exposition of 1862, since there were no similar models presented by Magni at the Dublin Exposition in 1865 and already in 1872 the two sculptures, from the catalogue of loans for the "Dublin Exhibition of Arts, Industries and Manufactures" of that year, are owned by the Earl ("Official Catalogue of the Dublin Exhibition of Arts, Industries and Manufactures and Loan Museum of Works of Art, 1872", pp. 79- 80, esq. No. 4-33).
Assuming that the sculpture today in Portugal is the same one presented and sold at the Oporto Exposition of 1865 and that the current location of the "Angelica" attested in the Dutch royal collections in 1855 remains unknown, various hypotheses arise regarding the dating of our sculpture: : it is possible to think that this is the work presented at the Universal Exhibition of Paris in 1867 (“Exposition Universelle de 1867 à Paris : catalogue général; 1ière partie: (Groupes I à V) contenant les oeuvres d’art”, Class 3 , n ° 59), or that it may be identifiable with the “Angelica”; statua al vero"presented by Pietro Magni at the National Exhibition of Fine Arts in Milan in 1872 (26 August-7 October) and cited among the sculptures exhibited by the artist together with a"Ritratto virile a busto; di commissione" ("Seconda Esposizione nazionale di belle arti diretta da un comitato eletto dalla regia Accademia di Brera: 1872”, Milan 1872, p. 14 n. 28), or it could be an unidentifiable version closer to original model from the mid-19th century, an option towards which the high executive quality would lean towards.
Pietro Magni, one of the leading exponents of the so-called "Scuola di Milano", was one of the main sculptors of that Risorgimento and patriotic period in which the neoclassical style was giving way to the romantic impetus, an interpretation best suited with the times, which Magni lived in person, directly taking part in the events of the Roman Republic of 1849. He studied at the Accademia di Belle Arti di Brera in Milan and was a pupil of Abbondio Sangiorgio. Already winner of the Academy Award in 1850 with his "David", in 1855 he was invited to the Universal Exposition in Paris, the first step towards an international success which saw him attend numerous other Expositions, including Milan, Paris, Florence , Vienna, London, Dublin, and Santiago de Chile. Among his best known works, in addition to the "Angelica", the "David" and the "Monument to Leonardo da Vinci" in Piazza della Scala in Milan, the famous "Leggitrice": almost an ideal pendant of Angelica, two different interpretations to understand the Italian sculpture of romantic inspiration of the period, this elegant sculpture recollected in a movement of passions all internal to the soul of the girl (while in Angelica they are external and visible) immediately had great success, being replicated in several copies, one of which is now at the Galleria d'Arte Moderna in Milan.

Comparative literature: “La Cronaca. Giornale di scienze, lettere, arti, economia, industria”, Milan 1855, p.763;
E. About, “Voyage à travers l'exposition des beaux-arts (peinture et sculpture)”, Paris 1855, p. 263;
G. Sacchi, “L’Angelica, statua grande al vero di Pietro Magni” in “Esposizione di Belle Arti in Milano e Venezia, 1855. Anno XVII”, Milan 1855, pp. 46-51;
“Rivista di Firenze e Bullettino delle Arti del Disegno”, Anno II, vol. IV, Florence 1858, p. 79;
A. Caimi, “Delle arti del disegno e degli artisti nelle province di Lombardia dal 1777 al 1862”, Milan 1862, pp. 186-187;
“Exposition Universelle de 1867 à Paris : catalogue général; 1ière partie: (Groupes I à V) contenant les oeuvres d’art”, Paris 1867, Class 3, n°59;
“Official Catalogue of the Dublin Exhibition of Arts, Industries and Manufactures and Loan Museum of Works of Art, 1872, Fine Arts Section, Sculpture”, Dublin 1872, n. 4-33;
“Seconda Esposizione nazionale di belle arti diretta da un comitato eletto dalla regia Accademia di Brera: 1872”, Milan 1872, p. 14 n. 28;
Yorick figlio di Yorick (alias P. C. Ferrigni), “Fra quadri e statue. Strenna in ricordo della Seconda Esposizione Nazionale di Belle Arti”, Milan 1873, pp. 30-32;
“The Art Journal”, vol. XVI, London 1877, p. 100;
Civico Museo Revoltella, “Galleria d’Arte Moderna. Catalogo delle Opere”, Trieste 1961, p. 34 n. 211;
A. Tamburini, “Pietro Magni scultore (1816-1877)”, dissertation, University of Milan, supervisor Prof. F. Barbieri, a.a. 1984-1985, pp. 114-116;
F. Tedeschi, “La scultura della Scuola di Milano attraverso le Esposizioni Internazionali (1851-1878) e la critica”, in AA. VV. “La Città di Brera. Due Secoli di Scultura”, Milan 1995, pp. 71-84;
F. Tedeschi, “Le figure femminili nella scultura: retorica e nuovi generi” in R. Cassanelli, S. Rebora, F. Valli (cured by), “Milano pareva deserta…1849-1859. L’invenzione della Patria”, Milan 1998, p. 50;
M. De Grassi, “Committenti di Pietro Magni a Trieste” in “Arte in Friuli. Arte a Trieste”, 20, Trieste 2000, pp. 165-166;
A. Panzetta, "Nuovo Dizionario degli scultori italiani dell'Ottocento e del primo Novecento", II, Turin 2003, pp. 560-561;
M. Heffernan, “Edward Cecil Guinness: Noblesse Oblige”, Irish Arts Review (2002-), Vol. 26, No. 3, 2009, pp. 92-95.

Starting Price

Euro 85.000,00

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Lot N: 0244

VINCENZO GEMITO (1852 - 1929)

Head of the water vendor.

8.5 x 16 x 8.5 cm

Signature at the back.

Commissioned to Vincenzo Gemito by the former ruler of the Kingdom of the Two Sicilies, Francesco II, in exile in France, and modeled for the first time in 1881, the figure of the water vendor was immediately one of the most recognizable and appreciated images of the Neapolitan artist, characterized by that strong realism, especially in the features of the face, which is the central element of Gemito's art and which derives from the re-proposition in sculpture of physiognomies and human figures drawn from everyday reality.
A comparable work, also in red wax, is kept in the XXII room of the Galleria d'Arte Moderna in Milan, together with a "Capri woman's head (Rosa)" and a "Priest's head", datable to the years 1881-1882. .

Starting Price

Euro 2.500,00

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Lot N: 0245

SILVIO MONFRINI (1894 - 1969)

Mother and child.

31 x 55 cm

Signature at the back. Foundry mark Fonderia Artistica G. Curti Milano.

Born in Milan in 1894, Silvio Monfrini worked mainly in the Lombard capital and in the neighboring cities, including Monza. A pupil of Ernesto Bazzaro, his main works include the monument to Francesco Baracca (1931), located in the homonymous square in Milan and a sculpture in the Non-Catholic sector of the Cimitero Monumentale in Milan, as well as in that of Monza, where is another version of this bronze.

Comparative literature: A. Panzetta, "Nuovo dizionario degli scultori italiani", Turin 2003, vol. 2, p. 585.

Sold at

Euro 700,00

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Lot N: 0246

DONATO BARCAGLIA (1849 - 1930)

Athlete.

17 x 40 x 19 cm

Signature at the base.

Born in Pavia in 1849 and student at the Accademia di Belle Arti di Brera in Milan, Donato Barcaglia was a pupil of the sculptor Abbondio Sangiorgio, reaching success at a very young age (seventeen years old) for his sculpture "Il vendemmiatore", acquired in 1866 by the Società di Belle Arti of Milan, and then obtaining numerous awards at international exhibitions, including Vienna (1873), Florence (1875) and Philadelphia (1876). A version of his sculpture of the "Athlete" was instead awarded the gold medal at the 1902 St. Petersburg Exposition, while a marble example is in the Fondazione Cariplo Collection.

Comparative Literature: V.Vincenzo, "Gli scultori italiani dal Neoclassicismo al Liberty", Lodi 1994, p. 71.
A. Panzetta, "Nuovo dizionario degli scultori italiani", Turin 2003, vol. 1, p. 72.

Sold at

Euro 1.500,00

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Lot N: 0247

DONATO BARCAGLIA (1849 - 1930)

Eve.

18 x 52.5 x 18 cm

Signature at the base. Foundry mark Fonderia Battaglia Milano.

Sold at

Euro 700,00

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Lot N: 0248

BRONZISTA FRANCESE DEL XIX-XX SECOLO

Bronze sculpture depicting the muse Terpsichore.

27 x 75 x 17 cm

Signature at the base "Moreau", possibly Hippolyte-François Moreau (1832-1927). Marble base.

Starting Price

Euro 700,00

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Lot N: 0249

MANIFATTURA DEL XIX-XX SECOLO

Polychrome terracotta lion.

30 x 87 x 70 cm

Sold at

Euro 1.200,00

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Lot N: 0250

MANIFATTURA DEL XVIII SECOLO

Pair of marble mortars.

12x17x17 cm; 12,5x14x14 cm.
One mortar inscripted "A. IVB 1725".

Sold at

Euro 240,00

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Lot N: 0253

MANIFATTURA ITALIANA DEL XVIII SECOLO

Carved and gilt wood frieze with foliate decorations.

123 x 36 cm

Sold at

Euro 360,00

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Lot N: 0254

MANIFATTURA ITALIANA DEL XVIII SECOLO

Carved and gilt wood frieze with foliate decorations.

123 x 36 cm

Sold at

Euro 360,00

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Lot N: 0255

MANIFATTURA ITALIANA DEL XIX SECOLO

Stone capital with volutes emerging from acanthus leaves.

40 x 36 x 40 cm

Starting Price

Euro 500,00

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Lot N: 0256

MANIFATTURA DEL XIX SECOLO

Dark tortoiseshell set, Napoleon III period.

30 x 38 cm

Lot with independent expertise for the marketing of antique turtle objects.

Starting Price

Euro 500,00

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Lot N: 0257

MANIFATTURA DEL XIX-XX SECOLO

Pair of leather and brass album containing albumen photographs.

22 x 39 x 15 cm

Sold at

Euro 150,00

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Starting Price

Euro 3.000,00

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Lot N: 0259

MANIFATTURA DEL XVIII SECOLO

Parcel-gilt papier-mâché frame with phytomorphic motifs.

30 x 36 cm

Light. 15x9.5 cm; Rabbet: 25x19 cm.

Sold at

Euro 60,00

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Lot N: 0260

MANIFATTURA DEL XVIII SECOLO

Pair of baroque parcel gilt wood frames carved with foliate decorations.

29.5 x 37 cm

Rabbet: 15,5x12 cm. Light: 14,5x10,5 cm.

Sold at

Euro 150,00

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Lot N: 0261

MANIFATTURA SPAGNOLA DEL XVII SECOLO

Group of four baroque lacquered giltwood frames decorated with leafy motifs and putti.

76 x 93 cm

Light: 59x43 cm. Rabbet: 62x46 cm.

Sold at

Euro 3.000,00

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Lot N: 0262

MANIFATTURA VENETA DEL XIX SECOLO

Gilt mirror in the style of the 18th century.

160 x 150 x 8 cm

Light: 134,5x143 cm. Rabbet: 144x153,5 cm.

Sold at

Euro 300,00

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First session 1-86 15/06/21

11:00

Second session 87-174 15/06/21

15:00

Third session 175-262 16/06/21

11:00

Fourth session 263-345 16/06/21

15:00

Exposition

11 - JUNE 14TH
10-1PM; 3.30PM-6.30PM (SATURDAY AND SUNDAY INCLUDED).